Notes on Film by John Greco

Tag Archives: Walter Connelly

Short Takes returns with three reviews, totally unrelated. A young Natalie Wood stars in A CRY IN THE NIGHT while 1950’s Brit blonde bombshell Diana Dors is in THE UNHOLY WIFE. Finally, Ginger Rogers shines in the lightweight 5th AVENUE GIRL.

I wonder when they named this picture, “A Cry in the Night,” whose tears they were referring too, Natalie Wood’s character perhaps, who is kidnapped in the middle of the night or maybe the audience who had to sit through this cliché ridden tale about a child-like adult (Raymond Burr), think Lenny in “Of Mice and Men,” who watches young couples making out at a local lover’s lane.

After knocking out her boyfriend old Raymond kidnaps Ms. Wood taking her to his secret hideout where he confesses he just wants to be ‘friends.’ Yes, Nat makes a couple of feeble attempts to escape but in the end only manages to ripe her skirt so she can reveal some leg in order to keep the males in the audience awake. Wood’s father, played by Edmond O’Brien, is an overbearing, over protective, sexist who finds it hard to believe his eighteen year old daughter would willingly go to a lover’s lane of her own free will after he forbid her too. In fact, ole’ Edmond seems more concerned with wanting to beat the crap out of the boyfriend for this dirty deed than finding his daughter. Oh yeah, by the way, he’s a cop who naturally wants to be involved in the case though he should not be. The cast also includes Brian Donlevy as the sensible cop who attempts to control the out of control O’Brien. As directed by Frank Tuttle, there is nothing original here, to say the least. Tuttle is best known for making “This Gun For Hire” some fourteen years earlier which made Alan Ladd a star. Ladd, by the way, is the narrator who opens the film and his company co-produced the film. Continue reading →

I always thought “His Girl Friday” was one of the most acidic screwball comedies to ever hit the screen until I watched “Nothing Sacred.” The cup runneth over in this sharply written film and it isn’t with love. For this you can thank Ben Hecht who co-wrote the original source material for the prior film, the Broadway hit, “The Front Page” and was the only credited writer for the latter (Producer David O’Selznick handed Hecht’s script over to George S. Kaufman, Moss Hart, Dorothy Parker and Ring Lardner Jr. among others. Despite all these other hands in the pot, Hecht’s sour look remained intact). Hecht may be more the auteur of these two films than either of the two directors. Both are driven by aggressive, cynical newspaper reporters who will exploit and outright lie to sell newspapers and make a buck for themselves. If anything stops “Nothing Sacred” from being a full blown masterpiece of prickly comedy, it has to do with two components. The first, the part of Wally Cook, the cynical newspaper reporter screams out for Cary Grant. Instead, here we have Fredric March. Now, it’s not that March is bad, he’s not. He just seems like he is wound up a little bit too tight for the role. He cannot let himself let loose like Grant would have. The second factor is the treatment of the film’s black characters which I will get into in more detail a little further on.

For Ben Hecht, it not just the newspaper reporters who are nasty, evil and corrupt, it’s the entire cast! Carol Lombard’s Hazel Flagg is an unscrupulous liar willing to carry on a charade just so she can get out of her hick New England town and visit New York City. The folks from Warsaw Vermont, Hazel’s small hometown are monosyllable, unwelcoming and suspicious of outsiders. Even the kids are nasty; one youngster (Billy Barty) bites Wally on his leg while others pelt him with stones after he arrives in town inquiring about the unfortunate Hazel Flagg.

I should talk a little about the plot before going any further. As I said, Lombard plays Hazel Flagg, a small town girl from Warsaw, Vermont, where people don’t take kindly to strangers, especially slick New York City newspaper reporters. Factory worker Hazel was misdiagnosed by her doctor (Charles Winninger) who informed her she was going to die due to exposure from radiation poisoning at the factory. Her fellow co-workers collected $200 dollars to send Hazel on her dream trip to see New York before she dies. However, just before she is about to leave, she receives even worst news from her doctor. You see, he made a mistake, she’s going to live! Upset, she cries out “It’s kind of startling to be brought to life twice…and both times in Warsaw!” Continue reading →

William Powell and Myrna Loy made fourteen films together marking them as one of the most recognized and great screen team pairings. They first appeared together in 1934’s “Manhattan Melodrama” which was soon followed by “The Thin Man,” the first of six films they would make as Hammett’s Nick and Nora Charles. They would go on to make eight more films with Powell always elegant and charming while Loy emoted style, wit and a flirtatious naughtiness. In 1936, they were teamed with two other of MGM’s grand stars, Jean Harlow and Spencer Tracy, and made one of the most delightful and funny screwball comedies to grace the screen, “Libeled Lady.”

Nominated for a Best Picture Oscar, “Libeled Lady” moves at a quick pace barely giving the viewer time to catch one’s breath. Directed by MGM house director, Jack Conway, Loy is Connie Allenbury, an heiress who is suing a local newspaper for five million dollars for printing false accusations about her stealing another woman’s husband. The paper’s editor is the scheming, crusty Haggerty (Spencer Tracy) who plans to obstruct the lawsuit by creating a scheme that will make Connie appear to be a real husband stealer. His plan is to enlist the services of Bill Chandler (William Powell), a former reporter for the paper, along with his own frustrated fiancé of two years, a reluctant Gladys (Jean Harlow). Haggerty convinces both Bill and Gladys to get married to each other, but only for appearances sake, and not certainly not to be consummated! Bill will then “seduce” Connie, who is unaware that he is a married man, into a romantic relationship only to have Gladys come barging in causing a public scandal with Tracy’s paper breaking the news, forcing Connie to drop the suit.

Filled with one hilarious scene after another, arguably the most hysterical is the wedding scene of Bill and Gladys. At the end of the ceremony, the justice of the peace tells the bride and groom they can now kiss. The two uncomfortably peck each other reluctantly on the lips. When Haggerty congratulates the new bride with a kiss, it is a long and passionate, shocking the justice of the peace. The new husband, Bill looking on informs the flustered justice of the peace not to worry, “they are old friends… very old friends!”

A fishing scene is also a highlight with Bill pretending to be an expert on trout fishing to impress Connie’s father, a delightful Walter Connelly. He unnervingly finds himself in the stream soak and wet, yet somehow managing to bag the largest catch of the day (This whole sequence reminded me of Howard Hawk’s 1964 comedy, “Man’s Favorite Sport” where Rock Hudson passes himself off as an expert on fishing but has actually never fished). As the film progresses, the plot becomes thicker and wilder, with Gladys beginning to believe she is really falling in love with Bill, while Bill actually falls in love with his supposed mark, Connie, and the two impetuously getting married. A jealous Gladys will accuse them of arson when she really means bigamy.

Marriage of convenience has been a common plot device in many comedies over the years, “Hired Wife,” “Come Live With Me,” “The Lady is Willing,” “Next Time I Marry,” and “The Doctor Takes a Wife” are a few films that have used the same theme. I actually watched the last of these film’s mentioned recently, a pleasant entertaining movie with Loretta Young and Ray Milland, though not in the same league as “Libeled Lady.” If “Libeled Lady” has a flaw it comes in the final minutes when all that is going on in the convoluted plot needs to be sorted out to ensure a happy ending, particularly the problem of Powell’s character who married Harlow during the course of the movie, but is in love with, and marries Loy, making Powell a bigamist. Well, we can’t have that, after all, this is 1936 and the production code is in effect, so as the film comes to its conclusion, Bill announces he looked into Gladys’ past and found that her Yucatan divorce from her first husband was illegal, subsequently, she was not free to have married him, making it legal for Bill to have married Connie. Only the put upon Gladys has her day, coming back with an unexpected topper, by announcing to everyone she followed the fiasco Yucantan divorce with a legal Reno divorce, freeing her to have married Bill! Unfortunately, both of these plot points come out of nowhere, like a mystery writer who injects a totally unexpected twist, an unseen and contrived idea into the storyline in the last chapter, with no previous hint earlier in the story, to surprise the reader. The entire scene is too manufactured and feels forced in order to resolve Bill’s double marriage dilemma.

That said, this is a not to be missed fun filled farce with a spectacular MGM cast. Myrna Loy who can express witty and naughty looks by just the raise of an eyebrow is matched flawlessly against her ideal screen partner, William Powell. Jean Harlow is a comedic gem with the right touches of cunning and naiveté, and Spencer Tracy is perfect as the calculating newspaper editor who puts the paper above all else.